Morvern Callar: The Sundae Presents Episode 24

Ciara and Dean co-host The Sundae Presents, a podcast in which they each make the other watch films they haven’t seen. For our second Christmas Special, Dean showed Ciara that timeless seasonal classic, Lynne Ramsay’s 2002 suicide drama Morvern Callar. They talked about how funny it is, whether the main character is a psychopath and if it’s even a Christmas film.

Morvern Callar The Sundae Presents

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The Best of The Sundae #4

Another year has gone more or less (it’s less, but it feels like more), so it felt like a good time to look back on the past several months and go “yeah, fair enough, good job to us” and encourage you to read some of the best stuff we wrote so you can go “yeah, fair enough, good job to ye”. We’ve written about good movies and bad movies, good bands that became bad solo acts, excellent television, extremely bad people and one of the most evil corporations in the entire entertainment industry.

For our long-time readers, take a walk down memory lane. For newer readers, catch up on some of our best work. And if this is your first time here, there’s hardly a better place to find out what we’re all about. Except the previous three times we’ve done this, maybe.

Here’s the best of The Sundae so far (again again)2.

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The Suicide Comedies of Jack Lemmon

We live in a weird moment for suicide humour, where it seems simultaneously omnipresent yet also impossible to find. Go on social media, and you’ll find an endless amount of jokes about wanting to die from millennials. Lots has been written about this tendency and how it acts as a form of catharsis for a generation with very little to look forward to in life. It’s a way to spit up a bit of the poison that we’ve spent our whole lives ingesting, a source of relief and even community, as we signal a shared anxiety about the future to other people and their likes, shares, retweets, comments, etc. signal to us that we’re not alone. Or so the theory goes anyway.

I’ve enjoyed and participated in this kind of absurdist suicide humour plenty. I sincerely believe the change.org petition to “let people drink the red liquid from the dark sarcophagus” should be studied as a defining work of millennial neo-Dadaism. Who else has spoken for their generation so succinctly as petition author and video game programmer Innes McKendrick when he wrote “we need to drink the red liquid from the cursed dark sarcophagus in the form of some sort of carbonated energy drink so we can assume its powers and finally die”?

But I’ve begun to have my doubts about “lol please kill me” as the dominant genre of suicide joke in our age. Because it’s not really about suicide, is it? It’s about suicidality, about the abstract feeling of wanting to die, not about suicide as it happens in the world. While it can gesture at a wider context – e.g. tweeting “just put a bullet in my brain now” in response to some horrible news stories – there is something self-centred about it. Not selfish, but literally centred on the self, on the individual and how they feel inside. It’s always “I want to die” and “please kill me” and “every night I pray that a burst of gamma radiation from space will incinerate the atmosphere and end my suffering”. And that’s fine as part of a diversity of comic approaches to suicide, but I have to ask: where are the jokes about a hanging gone wrong? Where are the jokes about other people’s indifference to your pain? (“I told my therapist I was gonna kill myself. He said I have to start paying in advance.”) Where are the funny scenes of attempted suicide in mainstream comedies? I get a kick out of the occasional funny tweet about wanting to die, but the genre isn’t hospitable to other kinds of jokes, particularly jokes with scenarios and characters where we’re looking at suicidal people, not being them. When just one style of humour has become this totalising and suffocating, it’s not enough. It’s overplayed and unsatisfying and dull.

It also dovetails unsettlingly well with the growing tendency to treat mental illness, and therefore suicide, as an issue of individual brains and their damage. Mark Fisher, the left-wing writer who took his own life in 2017, wrote in his 2009 book Capitalist Realism that treating mental illness as purely an issue of brain chemistry, or even of personal health, is necessarily comorbid with the depoliticisation of mental health. “It goes without saying that all mental illnesses are neurologically instantiated, but this says nothing about their causation. If it is true, for instance, that depression is constituted by low serotonin levels, what still needs to be explained is why particular individuals have low levels of serotonin.” We may agitate for more funding for mental health treatment, but if we don’t also agitate to change the social conditions that lead to such high rates of mental illness in the first place, it’s little different than fighting for medical care for the children of Flint, Michigan, but not fighting to get them lead-free water.

I’m not laying the responsibility to build a revolution at the feet of the mummy juice petition or any other similar jokes, obviously, but I am curious about the way these tendencies seem to have come of age together and how the first generation raised to think of mental illness and suicide this way is also (1) extremely mentally-ill and suicidal and (2) constantly joking about it in this particular style. I love suicide jokes, to a degree others often find unsettling, especially if they know I’ve spent a lot of my life thinking obsessively about murdering myself. I’m not here to shut down the party by any means, but Christ does it need some shaking up. We need more yucks from guns misfiring and melodramatic motivations.

We need Jack Lemmon.

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My Body is a Cage

The first thing you know about your body is that you’re stuck in it. Only later, when your tiny infant brain develops object permanence, do you learn your body is stuck in the world.

Cake is a 2014 black comedy-drama film starring Jennifer Aniston as Claire Bennett, a woman living with chronic pain after a car crash. Claire is, to put it mildly, not the most pleasant person. The film opens on a support group meeting following the suicide of a member, Nina (Anna Kendrick), where everyone is encouraged to voice their feelings about her death by speaking to the group leader as if she was Nina. Some express sorrow, others anger that she didn’t reach out and that she left her five-year-old son motherless. Claire watches with part-amused, part-scoffing indifference until she’s finally prompted to share against her will:

“She jumped off a freeway overpass, right? Specifically where 110 meets the 105? And is it true that she landed on a flatbed truck that was full of used furniture that was heading to Mexico? And that no one discovered the body until it reached Acapulco? That was, like, more than 2,000 miles away? And that they sent her body back in a Rubbermaid cooler which then got stuck in customs for, like, a week before Nina’s husband could even claim it? Way to go, Nina. Personally, I hate it when suicides make it easy on the survivors. But please, continue.”

Critics didn’t seem to know what to do with Cake. While there was near-uniform praise for Aniston’s performance (for which she was nominated for a Golden Globe), the rest of the film received a more mixed response, especially the screenplay, and was often treated as mere fodder for puns. “This cake needs more layers” goes a typical riff. I’m not sure why, because Cake is one of the richest and most rewarding films about suicide I’ve ever seen, and probably the only one to seriously explore suicidality as an embodied experience.

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I Took My Time, I Hurried Up

This article is part of the In Defense of the Genre series. Previously, My Chemical Romance as armour in a world full of misery and cruelty


It’s hard to believe now, but once upon a time it was quite a thing for a pop punk band to write a downbeat song about depression. Pop punk has always had a deep and abiding commitment to sincerity, but the genre’s early breakouts, especially Green Day, generally maintained a weird ironic distance from their feelings even as they exorcised them. “Basket Case” is a typical example: it’s not that it isn’t upfront about its subject matter – the sense of disorientation and purposelessness that is most definitive of Gen X alternative rock – but it’s delivered with a kind of self-deprecating, tongue-in-cheek, throwaway attitude that’s very hard to describe and very uniquely pop punk.

Partially that’s a product of the inherent irony of pop punk as a genre – the tension of sad lyrics over upbeat music – and partially it’s a product of the pervasiveness of irony in Gen X pop culture at large, from Kurt Cobain deadpanning positivity slogans to the relentless cynicism of Seinfeld, which is one reason the balance shifted heavily (but never completely) towards sincerity as this early wave of pop punk bands were succeeded by bands like My Chemical Romance, Paramore and Fall Out Boy in the noughties. Though mostly not millennials themselves (MCR’s Gerard Way is only five years younger than Green Day’s Billie Joe Armstrong), their fanbases are, and these bands were at the vanguard of millennial pop culture’s reaction to the excessive and counterproductive irony of much Gen X art, a reaction that came to include Green Day themselves with American Idiot (2004).

Several successful singles from the turn of the century played a big part in that reaction: “The Middle” by Jimmy Eat World, “Perfect” by Simple Plan, and the first and most devastating shot, “Adam’s Song” by Blink-182, one of the most perfect songs ever written.

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